DINGE UND DIALOGE
Ed. by: Barbara Kapusta, Jenni Tischer and Rocco Pagel
Design: studio VIE
Edition: 300 pieces
En./Ger., 84 pages, multi-part, bound by hand, numerous illustrations in color, 21,5 x 30,5 cm, eight different softcovers designed by the participating artists

With contributions from Daniel Heinrich, Kathi Hofer, Barbara Kapusta, Ulrike Köppinger, Katrin Mayer, Ulrike Müller, Rocco Pagel, Jenni Tischer and texts by Jorella Andrews and Oona Lochner.

Vortrag Jorella Andrews

Die Arbeiten in der Ausstellung aufgreifend wird Jorella Andrews das Thema „Dinge und Dialoge“ anhand von philosophischen und historischen Beispielen untersuchen – wie der Idee einer Reformulierung von Wirklichkeit des britischen Philosophen und Videokünstlers Hilary Lawson in Bezug auf die Überlagerungen von „openness“ und „closure“.

Gespräch zwischen Katrin Mayer und Martin Beck

In der Arbeit “Forbidden Symmetries”, setzt Katrin Mayer die aperiodische Struktur der Quasikristalle in Dialog mit der Handarbeitstechnik des Klöppelns, welche auf mathematischen, geometrischen Kalkulationen basierend symmetrische Muster erzeugt. Trotzdem es sich dabei in seiner eigentlichen Form um ein dekoratives Kunsthandwerk handelt, zeichnet sich dieses aber durch eine komplexe Logik aus, die Serialität, Geometrie und eine abstrakte Übersetzung von organischen Formen in eine ornamentale Form kombiniert. Die Arbeit entstand in engem Austausch mit Martin Beck, dessen Interesse für Quasikristalle und sogenannte ‘verbotene Symmetrien’ sich aus der Zusammenarbeit mit dem Künstler Gerard Caris (*1925) ergibt, der seit den 60er Jahren die Frage der Realisation ‘verbotener’ fünfzahliger Symmetrien in das Zentrum seiner gestalterischen Arbeit stellt. Dabei entdeckte er unabhängig von der Wissenschaft Ansätze zu regelmäßigen aperiodischen Strukturen wie zweidimensionalen Penrose-Parkettierungen und dreidimensionalen Quasikristallen. Erhielt Caris nach eigener Aussage noch in den 80er Jahren Anrufe von Wissenschaftlern, die sagten “I don’t believe this exists!”, so sind Quasikristalle – seit ihrer experimentellen Entdeckung 1982 und der Verleihung des Nobelpreises an Daniel Shechtman dafür 2011 – von einem für unmöglich gehaltenen Bereich der Kristallographie zu einer Zukunftstechnologie geworden.

 

We are pleased announce the exhibition “Dinge und Dialoge” at “Scriptings”, Achim Lengerer’s showroom and publishing house. It is a project that has evolved over a long time frame, the concept of the exhibition emerging in continouus exchange between us and our individual artistic practices. The exhibition explores the relationship between the material character of things and the physical existence of the observer. We read the language of objects and ask questions about the particular, unique standpoint from which we can speak and perceive. Where everyday objects and art objects concur, due to their similarities and differences, their status becomes productive.

Our questions are addressed to the objects as well as the observer: The possibility of seeing differences in objects, or to recognise an object as something distinct, is dependent on the capacity of seeing and comprehending. What is the difference between the everyday objects that surround us, ubiquitous technological objects and the art objects that we want to talk about here? Are we actually touched in a specific way by objects that others direct at us? Is it a gesture sent in our direction, which upon decrypting itself possibly reveals and formulates an idea, one which is both carried by it and the source of it?

The exhibition accompanies a two-part publication realised in collaboration with the Viennese design agency Studio Vie and an event in January 2016.

Barbara Kapusta, Jenni Tischer and Rocco Pagel                                    Vienna/Berlin, Winter 2015

No World, single channel video, 18′, sound, 16:9, 2014

Six youths reside in an empty house. Their everyday life is gaming, the repetition of violent behaviors without actual conflicts and rehearsing forms of march and protest. Their actions evolve out of our everyday life of mediated images and uncertainties. These forms of self-training become a natural instinct and a form of existence.

Sea of Silence, single channel video, 29 minutes, sound, 2015

The work is centered on the idea of speaking about love as a form of action. Three female protagonists, as very distinctive individuals compared to each other, talk to the camera about specific events and experiences when they encounter love. Situated in a remote desert this savage environment becomes a new habitat for them to pursue a new form of living.

Murder Mystery is a theatre role-play performance project. The murder mystery script invites six guests to perform an assigned character and follow sequential instructions during a multi-course dinner. Among the guests is a secret, unknowing murderer; the guests must determine whom amongst them is the guilty party.

The playing area and materials will be available for viewing between performances, which are closed to the public.

Set design by Laurie Kang and stage management by Evan Webber.

The Material Ghost referenziert auf die Anfänge des Kinos. Projizierter analoger Film ist hier sprichwörtlich ein “material ghost” . Zu sehen ist ein am offenen Meer treibendes, besatzungsloses (Geister-)Segelboot, sowie die Performance von Regie, Schnitt und Vorführung des 16mm Schwarz/Weiss-Filmes. Stephan Lugbauer wechselt zwischen den beiden 16mm Projektoren mit je einer 120m Rolle ungeschnittenem Filmmaterial hin- und her. (Schnitt- und Gegenschnitt).

Die Performance The Material Ghost am 7. 11. 2014 in Wien bei School enstand in Kollaboration mit der Künstlerin und Musikerin Felicia Atkinson sowie der Künstlerin Barbara Kapusta.

Dauer 30-40 min

GREY WHISPER

episode 2 from a series on indeterminacy

it’s the cosmos and it’s the loss, it’s there and it will disappear
from you and come back again, whatever we wish, we are the
same kittens in the same potato bag and we need to make piece
with ourselves and
1/ find an escape
2/ believe in future lives
3/ accept the fate
4/ eat each other
5/ wake up from this joke
6/ hit the one billion views
7/ PIZZA TIME!
Improvisation, loops, delay, inderterminacy, and distortion are the main themes of Felicia Atkinsons visual and musical works. Her exhibitions are deliberately “improvised”: as a score and protocole for her displays she often uses found images as well as found and her own writing. Felicia Atkinson uses clay, silk, painting, drawing, printed matters, sound, found materials,  poetry and digital images, all in conversation, or in argument.

What kind of plot and territory express and locates a heterogeneous community of objects and species? How can we locate physically the instant and the “devenir’  of a body or an object?  How can we not stick to the plan? What is the materialization of noise? Can an object acknowledge doubt and ambiguity without revolving it? Can we be different things at the same time? What are the political and social effects of inderteminacy in an contemporary art exhibition context?